Reflexive practise

Merging of theories and finding connections to embodiment and our own idea of what it is, how to transfer this into writing was the topic of the discussion this evening.
Providing context to what we feel embodiment is by looking at theories and articulating these in our essays.
I think this depends on how we all see ourselves.  From the outside, as in producing a form following the directive of another or inside, sharing and internalizing movement drawn from emotion and how we connect emotion to movement based on our own lives or that of others.  What we chose to share, how we connect to those watching.  Will the person watching change what we chose to show?  Will it draw something within us further out, or drive an external form and hide what is deeply within?  Power yields many voices. I am keen for other MAPP community to share their idea of Power and the affects it has on the growing dancer, please if you can.
Looking at Adesola's Graham class where the teacher saw the positioning at the front of the class as a generous act.  I felt this would fill a dancer with pride that they had been brave enough to show themselves. How the body implicates a space, seen as the gesture of generosity in this case, as does the conversation during Group Skype sessions.  Speaking forward not seen as the need to take charge as a form of 'take' but to share an idea as a form of 'give'.  How a dancer balances give and take by the way they use their bodies and how much a teacher expects a learner to give or take.  What the act of giving and taking represents when we dance..
The Graham teacher may also have communicated to the reserved child at the back that they are being selfish when keeping their body to them self.  It could be seen equally generous by taking a back seat!  (Is this a Metaphor)?  The person on the back row may have felt pressurized to go to the front next time, not with the intension of showing generosity but seeking approval from her teacher. There are so many ways of looking at how our bodies are interpreted. 

I am keen to share my feelings of what I consider embodiment is, and that it is at the core of our own kinesthetic connection to a movement, no-one else can know this and it is very difficult to explain.  It is deeply personal for all of us. The aesthetic form can be explained through symbolism, notation, photographs, video, but even when providing these many choices in how the shape or the journey of the movement could be symbolized, this will still could still limit how a learner feels. As I understand it, I think this is the aim of theory as well. So I will now seek to find a theory that explains kin-aesthetic understanding and look at the word 'kin', as well. Do we all seek to find a shared kinaethetic and can this be done through dance?  To research other peoples voices and ideas and to see how they connect with our own ideas and beliefs.  I am wary in attaching Learning Styles or even Multiple Intelligences to people, there are so many of us, I'm not sure it is straight forward.  However, these theories can be useful when looking to providing alternative teaching approaches which may or not connect an individual.  Ar least they provide pluralities and not singularities.

I had listened to Module 1's struggling to write down their AoL's in academic language, which is something I also struggled with and still do. Most of my writing is monotonous and laborious. It helped for me not to write it in a journal but to speak and record what had happened straight afterwards. This, later listened back, opened up different  ideas about what had happened, without the need to write them first.  The writing came later.  This helped me, but may not suit everybody. 

I find blogging useful as you just say what you're thinking rather than trying to sound 'academic' with clever words and quotes.  Still haven't mastered that yet though!